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A.G.:3
That they would take a third. Of course there are exceptions. Sometimes if there may be another dealer involved. There may be some split commissiions and we have to make it like forty percent. And then that has to be worked out.
E.V.: In other words, if you should be represented in Germany where Marlborough does not have a gallery.
A.G.: Yes, and in the case of European Ehxhibits, sales in Europe. My arrangement with them is that they will get forty percent. On exhibits out of the country.
E.V.: Even if it is their own gallery?
A.G.: Yes, because of the shipping costs. However, I had a show in their London Gallery, but the sales were negligible, so it was academic. Their sales of my work, take place mainly in this country.
E.V.: Do you feel that the size of the space in their gallery influences you in any way.? In your painting, or you were painting large anyway.
A.G.: I think it is too small. Yes, they only have ten too ceilings, and if I have a twelve foot painting I can't show it if it is twelve feet high. Even if it is ten feet high. No, I don't think that is a factor at all. Years ago, I have seen this happen where a gallery would, might have a very large room and an artist might do paintings for that reason. I think the reason for large paintings is not the gallery.
E.V.: No, I didn't think that It did, but I just thought I would ask you because that space is large and also the space like Dwan and Cordier Ekstrom and space like that, and I wondered if, I haven't asked any of the artists yet, but if the new space at Cordier Ekstrom would influence an artist in his show.
A.G.: I don't know, may be some artists would be influenced. I did very large paintings when I was with a dealer who had a very small gallery. And he couldn't get them into the gallery.
E.V.: Who was that?
A.G.: Emmerich. He has a very tiny gallery. In fact, that is the reason that after two shows I had to, in order to show my very large things, go with French and Co. And if you think Cordier Ekstrom is large you should have
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